Turner Classic Movies (TCM), known for its ad-free screenings of old films, expertly curated introductions, and interviews with directors and movie historians, has recently faced significant staffing cuts. This has raised concerns about the future of the channel’s programming. TCM boasts an impressive film archive primarily consisting of titles from Warner Bros., MGM, and RKO, making it a valuable resource for cable subscribers. In an era where even major streaming networks are moving away from ad-free content, TCM’s unique approach stands out. Personally, I find TCM to be one of the few remaining “wholesome” television viewing experiences.
The recent news of layoffs and budget cuts targeting TCM from Warner Bros. Discovery—TCM’s parent company—feels like a reflection of the current media landscape. TCM’s existence has been an anomaly, considering that most apps overwhelm viewers with an endless selection of content and provide little guidance. TCM is where I have discovered many overlooked cinematic masterpieces, ranging from noir classics to Golden Age musicals and lesser-known films like Kathleen Collins’s “Losing Ground” and Paul Bartel’s “Eating Raoul.”
Concerns about TCM’s future have been bubbling up since Warner Bros. merged with Discovery in 2022. Soon after the deal’s completion, CEO David Zaslav initiated cuts across the company, resulting in layoffs and shelving of finished films for tax write-offs. In January, TCM’s long-standing host, Ben Mankiewicz, reassured fans about the channel’s future, expressing Zaslav’s passion for TCM. However, six months later, Zaslav reduced TCM’s staff from 90 employees to roughly 20, including key figures like Pola Changnon, TCM’s general manager with 25 years of experience. These cuts have affected TCM’s ability to curate its vast library effectively.
The news sparked a brief outpouring of support from esteemed filmmakers such as Steven Spielberg, Martin Scorsese, and Paul Thomas Anderson. They held an “emergency call” with Zaslav to prevent further damage. After the meeting, they released a joint statement praising TCM as a “precious resource of cinema” and expressed optimism about preserving it. Warner Bros. chief content officer Kathleen Finch echoed their sentiments, affirming the company’s commitment to TCM and its significance in celebrating culture-defining movies.
Following the backlash, Zaslav announced that TCM would fall under the creative control of industry veterans Michael De Luca and Pamela Abdy, who currently head Warner’s film group. De Luca’s connection to Paul Thomas Anderson, as the executive who green-lit his breakout film “Boogie Nights,” is particularly noteworthy. However, given De Luca’s current role in the film division, it remains unclear how much attention he can dedicate to TCM. Nevertheless, this appointment offers reassurance that TCM’s cinematic mission might not be entirely abandoned. Zaslav also announced the return of Charles Tabesh, a programmer essential to the network’s identity, who was initially part of the layoffs.
Despite Warner Bros.’ efforts to emphasize TCM’s importance, the company’s track record under Zaslav’s leadership tells a different story. Staff reductions and asset sales have become concerning trends. TCM’s thoughtful programming is likely to suffer due to the significantly reduced staff. Eventually, the channel’s future could be in jeopardy, much like what has happened to other well-known cable brands, such as Comedy Central and MTV, which now primarily air reruns.
In an ideal scenario, a benevolent new owner, perhaps someone like Spielberg, could acquire the TCM brand. However, the true value of TCM lies in its extensive film library, which would be challenging to acquire. The loss of this library led to the demise of FilmStruck, a beloved streaming service that combined the Criterion Collection with TCM. Warner’s decision to withdraw support for FilmStruck in 2018 demonstrated that their love for cinema’s history had its limits due to corporate mergers.
The decline of TCM, much like the current trajectory of Twitter, may be a slow and disheartening process. While TCM may continue to air classics that are often unavailable elsewhere, its position has become increasingly precarious. The next round of cuts could prove to be fatal for the channel.
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